But this compromise may be made between them with advantage both to Amateurs and Artists; that the style of the Neri, including that of the Dutch school, may be considered as most applicable to the representation of interiors and quiet or grand subjects; while that of the Bianchi may be considered as most suited to exteriors, and subjects of gaiety and animation.
For the benefit of the Amateur, it will be necessary to say something more upon the style of colouring adopted by the Dutch school, the productions of which among the cognoscenti, are termed pictures of Tone; tone being in this instance used in opposition to positive colour, and as implying varieties of the ternary combinations, called neutral tints, or greys, but otherwise possessing the qualities of tone in a general sense, namely, transparency.
This style of colouring is peculiarly adapted to the class of subjects on which the Masters of the Dutch school generally exercised their pencils, homely interiors; but when applied to out-of-door scenes, although undoubtedly possessed of certain conventional beauties, such as harmonious arrangement and balance of tones, it has a tendency to look dull and heavy. The landscapes of Ruysdael and Hobbima do not reckon among their beauties, that of vivacity or cheerfulness. They may be clear and bright and fresh, as their admirers say, but they do not represent Nature under her most bewitching aspect, nor is the style of the school adapted to do so. It leans to the side of the Neri, from its dread of brilliant colours. It is unaffected, sober, and in many instances, such as interiors or close woody scenes under grey daylight, possesses great truth; but from its limited application, and unpretending effect, is scarcely to be put into competition, as a style of Fine Colouring, with the higher aims of the two great parties before mentioned. Plate.
Such is the present state of the theory of Fine Colouring; from which it is evident, that, except in a very limited class of subjects, Truth cannot be made the test—that even in this class of subjects, it is disputed whether it should be made the test; and that it is also disputed, to what extent a departure from truth is admissible; or rather, what quantity of resemblance to Nature is indispensable, and what method may be the best of compensating the want of accurate transcription; in short, what is the true idiom of Fine Colouring in Art, so as fully to translate the beauties of Nature.
The fashion of the day rather leans to the Bianchi party in Water-colour drawings, if not in Oil paintings; but the principles of none of the parties are fully developed in the works of their existing followers. The followers of the Dutch school are sacrificing part of their truth for some, but it may be doubted whether the best, part of the conventional tones of both the other parties. The Bianchi are more regardless of truth than they need be, even to develope their principles to the utmost. And the Neri admit themselves to be wandering in a maze, without any fixed ideas of their own principles, and therefore are less frequently successful than the reverse; and they are equally obnoxious to the charge of departing farther from truth, than is necessary to give their own principles full play. Very recently a heresy of this faction adopted a peculiarity of tone, which is not to be found in the works of any of the great men of their party; and which is obnoxious to two serious objections. It is a greenish tone that unavoidably excites the idea of corruption and decay, which, having a tendency towards the disgusting, is not tolerable in the Fine Arts; and the second objection is, that, in their zeal for transparency, they had lost solidity to such an extent, that a portrait of George IV. by a celebrated artist, had the appearance of a vision, or of having been spun out of green glass bottles.
The beginner and the Amateur have already been warned against the dangers of green in pictures. And it may now be added, that transparency should reside in the colours to conceal the appearance of pigments, but that the substances represented should appear as solid as in nature.
CHAPTER III.
SECTION II.
COLOURS OF LIGHTS AND SHADOWS.